By Liz Eichler, LCT Stage Insights Chair and Member ATCA
Happy Fringe! 2026 promises to be another exciting year of bold, touching, inventive, entertaining short original works, with something for everyone.
There’s a new service helping Cincinnati Fringe attendees navigate between venues—from Gabriel’s Corner, Miami University Center for Community Engagement on Vine, First Lutheran Church on Race, to Know Theatre’s headquarters on Jackson Street: the ArtsWave Carts.
Especially helpful during inclement weather—or for those trekking between distant parking lots, restaurants, and show venues—the service is a welcome addition for Fringe-goers, particularly anyone dealing with mobility challenges. Rides are free, though tips are appreciated.
Now, on to the shows!
Papa
This is the first time Madeline Rowe has presented their new work Papa, and I eagerly attended the first performance on opening night. Rowe is a gifted improviser with impressive physical comedy and clowning skills, demonstrated in the hit show Knight, Knight, which appeared in Cincinnati in 2024 and later at Edinburgh Fringe.
The show opens with flashes of lightning (highly effective work from the tech team) as Rowe lumbers onto the stage. The first few minutes unfold without words, relying on a delightful back-and-forth exchange of grunts—and affection—with the audience.
The props are clever both in their selection and their use. In this reimagining of the Mary Shelley story, the focus is squarely on the Creature. His relationship with Dr. Frankenstein—his Papa—is strained, but as the Creature repeatedly reminds us, “he’s doing the work.” Rowe makes us both empathize with and root for this misunderstood creation.
We also meet the meek Assistant Doctor Fritz (Jay Eisenberg), who not only assists but genuinely cares for the Creature. The two even perform a duet. The show is billed as “a new clown show about love, loss, and being more than the sum of your parts,” and it delivers on that promise.
After the performance, Rowe spoke about how much they learned from this first audience. Audience interaction is a delicate art, and what works at one Fringe may not work at another. This piece is still evolving, but it is already in very capable hands. What exists now is a gem that is still being polished, searching for even bigger laughs and deeper connections.
It was a wonderful way to begin my Fringe experience—building empathy and understanding for someone different than myself–while sharing laughter with a room full of strangers. Get tickets now and be part of Rowe’s journey to bringing her exciting new show to life.
All performances at Gabriel’s Corner, Salem United Church of Christ, 1425 Sycamore Street
- May 31 at 4:15 p.m.
- June 3 at 7 p.m.
- June 5 at 8:45 p.m.
- June 7 at 4:15 p.m.
1 Gay Wedding and Absolutely No Funerals: Reception to Follow
Expectations were sky-high, and the crowd—many attending their first Fringe show—was already cheering before the characters even appeared.
Whether or not you saw Part One last year, the production includes a clever recap that both catches newcomers up and plants seeds for what follows. There’s even a humorous nod to Mike’s changed appearance, referencing the recasting of the role originally played Kieran Cronin.
The backstory: On the morning of Charlie (Ben Miller-Jones) and Ryan’s (Justin King) wedding, the maid of honor is found dead after hooking up with best man Mike (Ethan Cain). Faced with this major inconvenience, the highly anxious Charlie and perfectionist Ryan decide to postpone dealing with the body until after the ceremony. Their plans are overseen by no-nonsense wedding planner Kate (Tashauna Ajoi Jenkins), while Ryan’s mother (Micha O’Connor Perez) creates additional complications.
When Part Two begins, the ceremony has concluded and the reception is underway. The head table dominates the set as the newlyweds adjust to calling each other “my husband” while continuing to debate when—and whether—to involve the police (Ria Villaver Collins). Hijinks naturally ensue.
Directed by Gregory Mallios, with choreography by Ashley Goos, the production makes excellent use of the Gabriel’s Corner space, and encourages a great deal of audience participation–as it ends in a dance party.
The audience’s affection for these characters remains undeniable. Last year’s Part One earned the Audience Pick of the Fringe Award 2025, and this sequel clearly benefits from that goodwill. The audience participation works well—we are, after all, guests at the wedding—and the cast fully embraces the energy of the room.
As a first performance, there are a few areas that will certainly tighten over the run. I occasionally found myself questioning the timeline and logistics of wedding events, but those are relatively minor concerns. The foundation is strong, the characters remain lovable, and the show delivers exactly what audiences are hoping for: a very fun night at the theatre.
Get tickets early—this one is likely to sell out.
All performances at Gabriel’s Corner, Salem United Church of Christ, 1425 Sycamore Street
- May 31 at 7 p.m.
- June 11 at 7 p.m.
- June 12 at 8:45 p.m.
Cincinnati Kids Fringe
Just because a show is part of Kids Fringe doesn’t mean it is only for kids. In fact, parents may laugh—or even cry—harder than their children. These free ticketed performances, made possible through support from the Andrew Jergens Foundation, offer plenty of both.
Linton Peanut Butter & Jam Presents: Heroic Harmonies
Playing to a full house in the Know Underground space, Elizabeth Westwood brings boundless energy and excellent projection while reading a superhero-themed story and encouraging audience participation throughout. THen it segues into exploring the superpowers we have to defeat bad guys.
Of course, every superhero needs a supervillain. This time, Eileen Earnest steps into the role of Dr. Whoopsie Daisey, who attempts to capture the hero—a doll—only to be thwarted by the children and their newly discovered superpowers.
Earnest showcases her considerable strengths in improvisation and physical comedy, drawing enthusiastic responses from the audience, young and old alike.
For many young audience members, this series provides a first introduction to classical music and live performance in a relaxed atmosphere. The musicians (Dianna, Kale and Jeremy) are on Keyboard, Trumpet and Bass, demonstrating the superpower of that instrument–such as being loud and soft. The group adds classical themes such as John William’s Theme from Superman or Rossini’s William Tell Overture. The kids in the audience had a great time–from 7 months to about 7 years to about 70 years old! Overall it was a joy. This group performs all summer long. For a complete list, follow Linton’s PBJ calendar.
Remaining performance of PB&J during the Fringe:
- June 6 at 12:30 p.m.
Pato y Muerte
Presented by Dos-Corazones Productions, Pato y Muerte may be the emotional surprise of this year’s Fringe.
Featuring bilingual storytelling in English and Spanish, along with dance, physical theatre, and audience participation, it demonstrates how deeply children can connect with quieter, more contemplative work. Audience members are even invited to color and display their artwork following the performance.
Based on Duck, Death and the Tulip by German author Wolf Erlbruch, the story follows a duck who realizes she is being followed. Death gently explains that he has always been there, and the two develop a beautiful friendship. Their journey unfolds through graceful movement, balletic imagery, and joyful moments of audience-engaged dancing.
What surprised me most was how naturally the story aligns with themes often associated with Día de los Muertos traditions. Rather than focusing on fear, it explores companionship, love, and acceptance, and the fragility of life and beauty, as per their program notes.
More than a few adults were wiping away tears by the end. It is a universal story about love and loss, presented with remarkable gentleness and beauty. Gabriel Martinez Rubio is Muerte (also directs and choreographs) with Lucia Duque as Pato, and Abel Zavala as the Narrator.
- May 31 at 2:30 p.m.
- June 6 at 2:30 p.m.
While I enjoyed all four productions, Pato y Muerte was the biggest surprise of the group. Highly recommend.
Stay tuned for more Fringe coverage.
